Friday, May 27, 2005

Monteverdi in Cambridge

Cambridge is a university first, and a city second. It is at its best when the students are in residence to counterbalance the tourists and language school students who take over in high summer. Last Saturday was a day to savour Cambridge. The weather suddenly changed from damp and grey English spring to something like high summer. The streets and open spaces were thronged with students enjoying the miraculous sunshine while taking a break from studying for exams, and the Backs were crowded as a mixture of students and early tourists took out punts.

Cambridge was pivotal in the Early Music revival. From Edward J Dent’s (who was a don at King's) pioneering presentations of Handel oratorios and operas in the 1920’s. Through Boris Ord’s work with King's College Choir (whose repertoire he expanded into Tudor polyphony) and the University Madrigal Singers, to figures such as Thurston Dart. I have the Neville Marriner Academy of St Martin's recording on LP of Dart's wonderful, but controversial, performing edition of the Brandenburgs, and what performers! - including the late and much lamented David Munrow on recorder. Munrow read English at Pembroke College, and next year is the thirtieth anniversary of his tragic and untimely death; a fate he shared, alas, with Nick Drake, Sylvia Plath and Rupert Brooke. Let's hope for some more Munrow reissues next year, and wouldn't a biography be wonderful? (Pliable Feb 2007 - alas there was no biography, but there was this Overgrown Path tribute.

One of my favourite publications is the Cambridge Concert Calendar. This is published three times a year, and is essential reading even if you don’t live in England, as it gives a marvellous snapshot of life in this most musical of all cities. The current calendar for the Easter Term 2005 covers the period from the end of April to the end of July. It has 54 pages, and there are four concerts to a page – that is more than 200 different events to choose from.

This was powerful Monteverdi, sung with gusto and youthful vigour, but also with precision and purity of tone. The University Chamber Choir comprises thirty-two singers; eleven soproanos, eight altos, six tenors and seven basses. What a joy to see such a youthful (and expert) choir, and also so many young faces in the almost capacity audience. (The ageing of the audience for classical music seems to be unstoppable, like mobile phones and i-Pods).

Is it a lute on steroids? No, it is a chitarrone competing with the serpent in my Size does matter post for the largest instrument on the blog award. It also gives me a reason to link to my post about fantastic jazz pianist Michel Petrucciani, this was one of my favourite posts but it created zero reaction, but on the basis his size didn't matter I'm trying again.The Baroque players (comprising freelance professionals) were suitable 'authentic'; three cornetts, two tenor sackbuts, a bass sackbut, two violins, a cello, organ, and a wonderful contribution from Dai Miller playing the chitarrone. During the interval, after the Lauda Jerusalem, we wandered out into the quadrangle of the College. The night was like black velvet, and unseasonably warm. We had that increasingly rare feeling that all is well with the world, and that Sir Peter Maxwell Davies can relax (see my post A Musician with teeth). The future of 'serious music' is in safe hands with these young musicians.

Note - this performance took place on April 30th. The sheer volume of posts about Norwich Festival events forced me to hold it over.

1 comment:

I was listening to one of my favourite Radio 3 programme on Sunday - Private Passions. This is a kind of up-scale Desert Island Discs presented by Michael Berkeley (son of Sir Lennox). The weekly programme is well worth catching - see BBC Radio 3 Listen Again link from sidebar. Guest this week was broadcaster Humphrey Burton. Not only did he go to Cambridge, but he also reminded me that conductors Roger Norrington and Sir John Elliot Gardiner did as well.